합작영화: 제도로 정착시킨 ‘한국’영화

Abstract

Co-production films were a production method in which economic profits were emphasized in that they could be exported, owning the copyright by investing production costs together with the partner of the co-production, in the 1950s. However, in the process of the production of co-production films, since the importation of the products after shooting in two countries or shooting and finally working in one country cannot but be included, various problems were present, including the problem of taxes. Consequently, to recognize the production of co-production films as an economic profit, institutional help was inevitable, which could make everything unproblematic. This study investigated the junction that made important criteria for co-production films, examining the late-1950s when co-production films began to be produced through the mid-1960s when the details of co-production films were specified in the Motion Pictures Act. From the problem of whether to impose a tariff on foreign films coming in for co-production films in the late-1950s, the problem of whether to consider films providing only very little production costs domestic products, in the early-1960s, the Korean film industry encountered the problem with how to treat co-production films proven to be disguised ones and what institutional system should be prepared to prevent this in the mid-1960s. Concerning this, the office of primary concern for film advocates for the production of co-production films, including co-production films in the category of ‘Korean’ films institutionally. The authority made it clear that it would not be necessary to impose a tariff on the films coming in for co-production. In a situation in which it would absolutely be difficult to accept the film for domestic use, the item of co-production films was newly established in the tariff schedule, and it presented alternatives like advocating the (disguised) co-production films already approved and providing the minimum criteria. In other words, the settlement of Co-production films was possible by the institutional support to include Co-production films in ‘domestic’ films, which was done in a very producer-friendly way.